As February draws to a close, I am well into my project ‘‘Re-Working the Landscape’’. For this very special project I have been visiting the print-studio of artist and print-maker John Hedley RCA for some expert tuition. I look over my notes and reflect on what I have been learning in the print-studio since January.
The Carborundum Printing Process
Preparing a card plate with Carborundum: Carborundum Grit (Silicon Carbide), when mixed with an acrylic resist medium, forms a paste which when applied to a printing plate will give a durable but textured surface which can be wiped clean and re-used many times. Using mount board to make the plates, I cut two or three pieces to the required size, I can then work on the plates with the Carborundum paste.
Preparing the plate
Preparing a copper plate: First of all I file the edges and the corners of the plate, this helps to protect the paper in the press. I remove any scratches on the surface, then I de-grease the plate ready for the application of the ground.
Then it’s time to apply the image to the plate using an etching needle to gently scratch into the ground. When I have done this I cover the back of the plate with sticky-back-plastic in order to protect the plate whilst it is on the mordant.
The Mordant: The plate is now ready to be ‘bitten’ in Ferric Chloride. The depth/intensity of the bite will depend on how long the metal is in the mordant. When working on copper plate, Ferric-chloride is used (Copper-sulphate is used with Zinc or Aluminium).
Inking the plate: I spread a small amount of ink onto the plate and work in thoroughly, then I gently remove with scrim and then tissue paper. The plate is now ready for printing. One of the elements of my project proposal was to prepare printing inks that use locally sourced Welsh pigment. I have been so excited about the prospect of making my own ink, it has been on the list for a very long time, I love the idea of creating a locally unique print!
Preparing the pigment
Preparing the Paper and Printing: The paper must be damp when it goes through the press so it is soaked in a bath of water. Soaking times vary depending on the paper. When the damp paper is removed from the water it can then be placed in blotting paper. I have been using ‘bread & butter’ paper for proofing and ‘‘Hahnemühle’’ paper for the final prints. The plates are then printed in turn on to the paper, this is the tricky part as they must register exactly with the paper each time it passes through the press!! Once the print is finished it can be hung up to dry and the plates can be cleaned.
The finished work will be exhibited at the Royal Cambrian Academy in June.
This project is supported by The Art’s Council of Wales.